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By contrast, the parallel trend towards repetitive usage of 'cunt' seeks to undermine the taboo through desensitisation.

If 'cunt' is repeated ad infinitum, our sense of shock at initially encountering the word is rapidly dispelled.

The Cunt-Art movement used traditional 'feminine' arenas such as sewing and cheerleading as artistic contexts in which to relocate the word.

A parallel 'cunt-power' ideology, seeking to reclaim the word more forcefully, was instigated by Germaine Greer - and later revived by Zoe Williams, who encouraged "Cunt Warriors" to reclaim the word (2006), the latest of the "various attempts over several hundred years of usage to "resignify" cunt to resume its original, feminine-anatomical status" (Jacqueline Z Wilson, 2008[b]).

Censorship of both the word 'cunt' and the organ to which it refers is symptomatic of a general fear of - and disgust for - the vagina itself.

The most literal manifestation of this fear is the myth of the 'vagina dentata', symbolising the male fear that the vagina is a tool of castration (the femme castratrice, a more specific manifestation of the Film Noir femme fatale).

Social taboos originally related to religion and ritual, and Philip Thody contrasts our contemporary bodily taboos with the ritual taboos of tribal cultures: "In our society, that of the industrialised West, the word 'taboo' has lost almost all its magical and religious associations" (1997).

In , Sigmund Freud's classic two-fold definition of 'taboo' encompasses both the sacred and the profane, both religion and defilement: "The meaning of 'taboo', as we see it, diverges in two contrary directions.

Later, John Wilmot would remove the veil altogether, writing "some of the filthiest verses composed in English" (David Ward, 2003) with an astonishingly uninhibited sexual frankness and a blatant disregard for the prevailing Puritanism.

When used in a reductive, abusive context, female genital terms such as 'cunt' are notably more offensive than male equivalents such as 'dick'.

This linguistic inequality is mirrored by a cultural imbalance that sees images of the vagina obliterated from contemporary visual culture: "The vagina, according to many feminist writers, is so taboo as to be virtually invisible in Western culture" (Lynn Holden, 2000).

The c-word's second most significant influence is the Latin term 'cuneus', meaning 'wedge'.

The Old Dutch 'kunte' provides the plosive final consonant.

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There have been attempts, however, to reappropriate 'cunt', investing it with a positive meaning and removing it from the lexicon of offence, similar in effect to the transvaluation of 'bad', 'sick', and 'wicked', whose colloquial meanings have also been changed from negative to positive - what Jonathon Green calls "the bad equals good model" of oppositional slang (Jennifer Higgie, 1998).

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